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THE only time art ever seems to make news here in the West anymore is when a Pollock or Warhol sells for a sum commensurate with the budget of a “Transformers” film. It seems bizarre, then, to find ourselves grappling with international crises in which art is the issue: the imbroglio involving the Sony movie “The Interview,” the massacre at Charlie Hebdo in Paris. The incomprehension, whether bemused or horrified, that we feel toward people who take up arms against the creators of cartoons or comedies is a chastening reminder that there are still cultures in which art is not a harmless diversion or commodity, but something real and volatile, a potential threat to be violently suppressed. These attacks are, in a way, a savage, atavistic show of respect.

Marsh, who is now sixty-five, is one of Britain’s foremost neurosurgeons. He is a senior consultant at St. George’s Hospital, in London, and he helped to pioneer a kind of surgery in which patients are kept awake, under local anesthesia, so that they can converse with their surgeons while they operate, allowing them to avoid damaging what neurosurgeons call “eloquent,” or useful, parts of the brain. Marsh has been the subject of two documentary films. Still, he writes, “As I approach the end of my career I feel an increasing obligation to bear witness to past mistakes I have made.” A few years ago, he prepared a lecture called “All My Worst Mistakes.” For months, he lay awake in the mornings, remembering the patients he had failed. “The more I thought about the past,” he recalls in his book, “the more mistakes rose to the surface, like poisonous methane stirred up from a stagnant pond.”